Visual Redress In Africa From Indigenous And New Materialist Perspectives

Through an indigenous and new materialist thinking approach, this book discusses various examples in Africa where colonial public art, statues, signs and buildings were removed or changed after countries’ independence. An African perspective on these processes will bring new understandings and assist in finding ways to address issues in other countries and continents. These often-unresolved issues attract much attention, but finding ways of working through them requires a deeper and broader approach. Contributors propose an African indigenous knowledge perspective in relation to new materialism as alternative approaches to engage with visual redress and decolonisation of spaces in an African context. Authors such as Frantz Fanon, Ngugi Wa Thiong’o and George Dei will be referred to regarding indigenous knowledge, decolonialisation and Africanisation, and Karen Barad, Donna Haraway and Rosi Braidotti regarding new materialism. The book will be of interest to scholars working in art history, visual culture, heritage studies, African studies and architecture.

Presenting a detailed examination of the origins, evolutions, and state-of-the-art of linguistic landscape research, The Bloomsbury Handbook of Linguistic Landscapes is a comprehensive guide to the burgeoning field of linguistic landscapes and the study of meaning and interpretation in public spaces and settings. Providing a thorough synopsis of the theories, methodologies, and objects of study which inflect linguistic landscape research across the world, this book is the ideal companion for both new and experienced readers interested in the processes of communication in public spaces across diverse settings and from a broad range of perspectives. Through a wide selection of case studies and original research, the handbook highlights the global reach of linguistic landscape theories and practices. Scrutinising an array of qualitative, quantitative, and mixed methodological approaches for analysing a wide spectrum of meaning-making phenomena, it investigates semiosis in contexts ranging from graffiti and street signs to tattoos and literature, visible across a variety of sites, including city centres, rural settings, schools, protest marches, museums, war-torn landscapes, and the internet.

This is the first book to develop a postmigrant analytical perspective for the study of art, concentrating on how postmigration reopens the study of contemporary art and migration. The book introduces art historians and other scholars with a methodological interest in cultural analysis to the innovative concept of postmigration, offering a comprehensive introduction to the various meanings and uses of the term as well as translating it methodologically to an art historical context. The book analyses art projects from Denmark, Germany and Great Britain, which address some of the current challenges to European societies of immigration, and by drawing on theory from fields such as migration studies, transcultural studies and feminist, postcolonial and political theory, as well as re-engaging established concepts such as imagination, commemoration, belonging, identity, racialization, community, public space and participation. The book will be of interest to scholars working in art history, art and politics, migration studies, and transcultural studies.

Political Economy, Race, and the Image of Nature in the United States, 1825–1878 is an interdisciplinary work analyzing the historical origins of a dominant concept of Nature in the culture of the United States during the period of its expansion across the continent. Chapters analyze the ways in which “Nature” became a discursive site where theories of race and belonging, adaptation and environment, and the uses of literary and pictorial representation were being renegotiated, forming the basis for an ideal of the human and the nonhuman world that is still with us. Through an interdisciplinary approach involving the fields of visual culture, political economy, histories of racial identity, and ecocritical studies, the book examines the work of seminal figures in a variety of literary and artistic disciplines and puts the visual culture of the United States at the center of intellectual trends that have enormous implications for contemporary cultural practice. The book will be of interest to scholars working in art history, visual culture, American studies, environmental studies/ecocriticism, critical race theory, and semiotics.

This book examines three exhibitions of contemporary art held at the Vienna Künstlerhaus during the period of National Socialist rule and shows how each attempted to culturally erase elements anathema to Nazi ideology: the City, the Jewess and fin-de-siècle Vienna. Each of the exhibits was large scale and ambitious, part of a broader attempt to situate Vienna as the cultural capital of the Reich, and each aimed to reshape cultural memory and rewrite history. Applying illuminating theories on memory studies, collective and public memory, and notions of "memoricide," this is the first book in English to focus on visual culture in the period when Austria was erased as a nation and incorporated into the Third Reich as "Ostmark." The organization, content and publications surrounding these three exhibits are explored in depth and set against the larger political changes and dangerous ideologies they reflect. The book will be of interest to scholars working in art history, museum studies, cultural history, memory studies, art and politics and Holocaust studies.

Through developing an ethical-methodological approach of ‘radical care', this book explores how critical artistic practice might contribute to the materialisation of more equal, more collectively fulfilling, possibilities of being. The chapters trace a set of interweaving lineages perpetuating inequalities: through labour, the body, and onto-epistemology. Art’s all too frequent a-criticality, cooption, or even complicity amidst these lineages is observed, and radical care and the disruptive arttext are developed as twin aspects of an alternative, resistant framework. The book contributes to the critical understanding of inequitable, abstracting processes’ growing determination of increasing parts of our world, and foregrounds art’s position amidst these. It also functions as an interface, both extending the fertile current discourse around care to a contemporary art focus, and at the same time exploring how radical art practices might contribute to a politics rooted in an ethics of care. The book will be of interest to scholars working in art history, studio art, philosophy and politics.

Drawing on thousands of historical documents from Polish and Dutch archives, this book explores Cold War cultural exchange between so-called ‘smaller powers’ of this global conflict, which thus far has been predominately explored from the perspective of the two superpowers or more pivotal countries. By looking at how cultural, artistic and scholarly relations were developed between Poland and the Netherlands, Michał Wenderski sheds new light on the history of the Cultural Cold War that was not always orchestrated solely by its main players. Less pivotal states – for example, Poland and the Netherlands – likewise intentionally created their international cultural policies and shaped their cultural exchange with countries from the other side of the Iron Curtain. This study reconstructs these policies and identifies the varying factors that influenced them – both official and less formal. The book will be of interest to scholars working in art history, history of the Cold War, post-war European history, international cultural relations, Dutch studies and Polish studies.

This volume is an attempt to provide this intersectional and reflexive space. The thinking behind the book began in Lamu in mid-2010. It was a time when growing community resistance emerged towards the Kenyan government's plan to build a second seaport under a trans-frontier infrastructural project known as the Lamu Port- South Sudan-Ethiopia Transport Corridor (LAPSSET). The editors agreed that a book that draws community activists, academics, researchers and policy makers into a discussion of the predicament of indigenous rights and development against the backdrop of the Endorois case was timely and needed. Assembled here are the original contributions of some of the leading contemporary thinkers in the area of indigenous and human rights in Africa. The book is an interdisciplinary effort with the single purpose of thinking through indigenous rights after the Endorois case but it is not a singular laudatory remark on indigenous life in Africa. The discussion begins by framing indigenous rights and claims to indigeneity as found in the Endorois decision and its related socio-political history. Subsequent chapters provide deeper contextual analysis by evaluating the tense relationship between indigenous peoples and the post-colonial nation-state. Overall, the book makes a peering and provocative contribution to the relational interests between state policies and the developmental intersections of indigeneity, indigenous rights, gender advocacy, environmental conservation, chronic trauma and transitional justice.